Quotulatiousness

August 17, 2012

Weigel’s prog rock series: the excess goes critical

Filed under: Britain, History, Media — Tags: , , — Nicholas @ 00:04

Part four of Dave Weigel’s look at the rise and fall of progressive rock:

The order, Rick Wakeman remembers, was for chicken vindaloo, rice pilau, six papadums, bhindi bhaji, Bombay aloo, and a stuffed paratha. This was November 1973 and Yes had sold out the Manchester Free Trade Hall for a performance of Tales From Topographic Oceans. The album consisted of four songs that rolled gently together, over four sides of vinyl, for 83 minutes. “There were a couple of pieces where I hadn’t got much to do,” Wakeman would recall, “and it was all a bit dull.

During every show, a keyboard tech reclined underneath Wakeman’s Hammond organ, ready to fix broken hammers or ribbons and to “continually hand me my alcoholic beverages.” That night in Manchester, the tech asked the bored Wakeman what he wanted to eat after the show. Wakeman, the lone carnivore in Yes, ordered the curry. “Half the audience were in narcotic rapture on some far-off planet,” Wakeman wrote in his 2007 memoir, “and the other half were asleep, bored shitless.”

Wakeman kept on at the keyboards, adding gossamer organ melodies and ambient passages to the songs. And then, around 30 minutes later, his tech started handing up “little foil trays” of curry, and Wakeman began placing them on top of his keyboards. “I still didn’t have a lot to do,” he wrote, “so I thought I might as well tuck in.” The food was obscured by the instrument stacks, further obscured by Wakeman’s cape, but the aroma danced over to Yes’s lead singer, Jon Anderson. He took a good look at the culinary insult. Shrug. Papadum in hand, he returned to his microphone to sing his next part.

Tales From Topographic Oceans just might be the recorded ur-text of prog rock excess. No band had ever tried to fill each side of two LPs with long, multisection suites. Yes did it, and voila — a No. 1 album. They went on tour with a sci-fi lullaby backdrop, designed by their three-time album cover artist Roger Dean. He had seen the sort of enormous venues they’d booked, realized how hard it now was for faraway audiences to see the band, and so voila — phantasmagoric eye candy. Their set began with 82 minutes of new music before they played an old familiar tune. They played in their biggest-ever concert halls, and they sold them out.

But as the tour went on, Yes dropped the third section of the album from the show, then the second. Soon, Wakeman vented to reporters about the band’s screw-up. “Tales From Topographic Oceans is like a woman’s padded bra,” he told one interviewer. “The cover looks good but when you peel off the padding there’s not a lot there.” Yes had gotten too damn silly. The music had collapsed in on itself.

August 16, 2012

Weigel’s prog rock series: the excess creeps in

Filed under: Britain, History, Media — Tags: , , — Nicholas @ 08:32

The third entry in Dave Weigel’s excellent and informative history of progressive rock:

With more gigs came more pomp. Ian Dove, one of the New York Times’ rock writers, approached ELP’s December 1973 Garden shows the way a reporter might write about a fully loaded nuclear submarine. The gear — tell us about this gear. ELP had arrived in Manhattan, Dove wrote, with “over 200 separate items of equipment, valued by customs at just over $100,000.”

Among them:

  • “Thirteen keyboard units” for Keith Emerson, including a “brand new prototype Moog synthesizer.”
  • A $5,000 Persian rug, “for bass player Greg Lake to stand on while playing.”
  • A drum kit as complex as a painting by H.R. Giger — he’d designed the nightmare cover to ELP’s most recent album, Brain Salad Surgery — crafted in stainless steel, topped off by an “old church bell from the Stepney district of London,” surrounded by Chinese gongs. If a stage was equipped right, the kit could rotate 360 degrees while Carl Palmer pounded out the solos in “Tarkus.” Cost: $25,000.

Band members got a little tired of talking about all this. Lake showed up for a Rolling Stone interview in cheap jeans and pronounced touring “incredibly tiring.” The excess was the sacrifice the band made for you, the fan. “It is very hard to get something across to 10,000 people with just a piano, a bass, and a set of drums,” Emerson told the Times. “It works fine in smaller places and the recording studio. I always compose on the piano. But in the large arenas where we have to play, everything gets lost.”

Where we have to play — a magnificent early example of the humblebrag.

August 15, 2012

Dave Weigel on the rise of prog rock

Filed under: Britain, History, Media — Tags: , , — Nicholas @ 10:44

The second installment in Dave Weigel’s informative history of progressive rock:

That keyboardists were suddenly rock gods represented the sea change that progressive music brought to the rock ‘n’ roll scene of the 1970s. The pop song was out. The prog epic was in. We laugh now at the foolhardiness of these 20-minute rock operas, but at the time they felt revolutionary — like the future of music, arrived all at once in the form of a wall of keyboards and a Moog organ. Small A&R teams went on treasure digs for progressive music. Labels like Charisma, Immediate, Harvest, and Sire signed bands that never intended to record three-minute singles. And the labels could sign them because the tours and the LPs sold. Rick Wakeman could write a thematic micro-opera about the Knights of the Round Table, and sell 10 million copies. In 14 months, Jethro Tull recorded not one but two albums that consisted of single, 40-minute songs. And they both went platinum.

Who was listening to this music? Hippies. Teenagers. Fans who were sure there was something more out there. People who wanted to drop acid and have their pupils bombarded by lasers. Arty types who wanted to find meaning in music, and who — rather than searching for it in short pop songs based on American blues — found it in the quirky Britishness of prog, equal parts twee and subversive.

The musicians, and the audiences, had grown up with rock. They took it seriously. But they didn’t feel constrained. They were more interested in personalizing or stretching the forms passed down to them. Everybody loved the Beatles, but they loved them best when they got weird. “The Beatles,” said guitarist and producer Robert Fripp, “achieve probably better than anyone the ability to make you tap your foot first time round, dig the words sixth time round, and get into the guitar slowly panning the twentieth time.”

This was supposed to be rebellious music. The Louis XVI of the time was the standard pop song structure — creative kryptonite. In a 1974 feature on Yes for Let It Rock magazine, David Laing explained that the “basic impetus was a justified discontent with the limitations of the pre-Pepper pop approach — the glorification of image, the three-minute single, the pressure towards repetition of the already successful formula.” Rejecting the three-minute single in favor of the suite meant rejecting the “establishment” in every way. “It was felt after Sgt. Pepper anybody could do anything in music,” said Yes/King Crimson drummer Bill Bruford in a 1994 interview. “It seemed the wilder the idea musically the better.”

The birth of Prog Rock

Filed under: History, Media — Tags: , , — Nicholas @ 00:14

Shameful confession time: I’m a long-time fan of prog rock. I suspect I’m not completely alone, as Dave Weigel wouldn’t have put this article together if there weren’t more than a tiny number of us fans still alive:

By 1967, Emerson was touring with the Jimi Hendrix Experience and Pink Floyd, and composing the first long classical-rock symphony. By 1970, he was one-third of a super-group that could sell out Madison Square Garden and summon 350,000 people to the Ontario (California) Speedway, possibly the biggest single concert of the 1970s.

And by 1977, Keith Emerson was, to critics and a new generation of fans, the wince-inducing icon of progressive rock. Prog. And prog, thanks to the heroic efforts of the culture-gatekeepers, was deader than Elvis locked in King Tut’s sarcophagus and spit out of an airlock.

You can’t completely kill an art form. Even if a musical genre becomes despised, it endures — on master tapes, on cut-out LPs, on Spotify or MP3-trade fora. Simon Reynolds describes how the “massive, super-available archive” gifted to us by the Internet allows anyone to rediscover anything, and pop music to gnaw its own tail. Hip-hop artists, our cultural magpies, comb through prog’s greatest hits to sample its stranger riffs and lost organ bleats. Modern, prog-influenced acts like Dream Theater and Porcupine Tree can sell out midsized venues.

But if ever a form of popular music dropped dead suddenly, it was prog. Progressive rock essentially disappeared, and has remained in obscurity for 35 years, ridiculed by rock snobs, ignored by fans, its most famous artists — Yes, King Crimson, ELP, Jethro Tull — catchphrases for pretentious excess.

August 14, 2012

Neil Peart interview in Maclean’s

Filed under: Business, Cancon, Media — Tags: , , — Nicholas @ 00:04

He’s in conversation with Mike Doherty on a range of topics including the upcoming Rush concert tour:

Rush’s 20th studio release, Clockwork Angels, hit No. 1 in Canada in June — not bad for a steampunk, progressive rock concept album. Its story, about a young man who flees a land designed to function in perfect mechanical order, reflects the philosophy of drummer and lyricist Neil Peart. Now living in Santa Monica with his wife and daughter, the native of St. Catharines, Ont., is preparing with his long-time bandmates, bassist-singer Geddy Lee and guitarist Alex Lifeson for a concert tour that starts next month. At a Toronto rehearsal studio, he granted a rare interview about musical integrity, freedom and his fight to escape precision.

Q: Thirty-eight years ago you joined Rush, and the next day you went shopping for instruments for your first tour. What are your memories of that time?

A: I remember all of us riding in the truck down to Long & McQuade [a music store in Toronto]. What a young musician’s dream, to say, “Look at those chrome drums. Look at that 22-inch ride cymbal. I’ll have those.” It was one of those unparalleled exciting days of your life.

Q: Did you feel you were embarking on a great, lifelong journey?

A: No, nothing like that. When I was young, my ambitions were very modest. I thought, “If only I could play at the battle of the bands at the Y, that would be the culmination of existence!” And then the roller rink, and you work your way up branch by branch. Whereas if you’re [thinking], “I want to be a rock star” — those kind of people just want to know how they can start at the top, and they’re doomed not even to get to the bottom.

August 7, 2012

QotD: The musical decline of Bruce Springsteen

Filed under: Media, Quotations, USA — Tags: , — Nicholas @ 00:08

The musical decline of Bruce Springsteen has been obvious for decades. The sanctimony, the grandiosity, the utterly formulaic monumentality; the witlessness; the tiresome recycling of those anthemic figures, each time more preposterously distended; the disappearance of intimacy and the rejection of softness. And the sexlessness: Remnick adores Springsteen for his “flagrant exertion,” which he finds deeply sensual, comparing him to James Brown, but Brown’s shocking intensity, his gaudy stamina, his sea of sweat, was about, well, fucking, whereas Springsteen “wants his audience to leave the arena, as he commands them, ‘with your hands hurting, your feet hurting, your back hurting, your voice sore, and your sexual organs stimulated!’”, which is how you talk dirty at Whole Foods. Remnick lauds him also for his “exuberance,” which is indeed preternatural. I was twice at The Bottom Line in August 1975 and I have never been in a happier room. But there is nothing daft or insouciant, nothing crazy free, about Springsteen’s exuberance anymore. The joy is programmatic; it is mere uplift, another expression of social responsibility, a further statement of an idealism that borders on illusion. The rising? Not quite yet. We take care of our own? No, we do not. Nothing has damaged Springsteen’s once-magnificent music more than his decision to become a spokesman for America. He is Howard Zinn with a guitar. The wounded workers in his songs do not have the authenticity of acquaintance; they are pious hackneyed tropes, stereotypical class martyrs from Guthrie and Steinbeck. Springsteen’s sympathy is genuine, but his people are not. His 9/11 and recession songs are bloated editorials: “where’s the promise from sea to shining sea?” His anger that “the banker man grows fat” is too holy: “if I had a gun, I’d find the bastards and shoot ‘em on sight” is not a “liberal insistence.” I prefer Dodd-Frank. The drawl in his voice is a production value, the grit a mannerism. A few minutes with one of Johnny Cash’s last records and it is impossible to take Springsteen’s vernacular seriously.

Leon Wieseltier, “Washington Diarist: A Saint in the City”, The New Republic, 2012-08-01

August 6, 2012

QotD: The modern British pub

Filed under: Britain, Humour, Quotations — Tags: , , — Nicholas @ 00:28

With some shining exceptions, of which my own local is one, the pub is fast becoming uninhabitable. Fifteen or twenty years ago, the brewing companies began to wake up to the fact that their pubs badly needed a face-lift, and started spending millions of pounds to bring them up to date. Some of the results of their refurbishings have been admirable: more and more comfortable seating, improved hygiene, chilled beers, snack lunches that in general have reached such a standard that, when in quest of a midday meal in unfamiliar territory, you will usually find quicker service and much better value for money in the pub than in the near-by trattoria.

But that is about as far as it goes. The interior of today’s pub has got to look like a television commercial, with all the glossy horror that implies. Repulsive “themes” are introduced: the British-battles pub, ocean-liner pub, Gay Nineties pub. The draught beer is no longer true draught, but keg, that hybrid substance that comes out of what is in effect a giant metal bottle, engineered so as to be the same everywhere, no matter how lazy or incompetent the licensee, and, in the cases of at least two well-known, lavishly advertised brews, pretty nasty everywhere. But all this could be put up with cheerfully enough if it were not for the bloody music — or that kind of uproar having certain connections with a primitive style of music and known as pop. It is not really the pop as such that I object to, even though pop is very much the sort of thing that I, in common with most of the thirty- or thirty-five-plus age-group, would have expected to go to the pub to get away from. For partly different reasons, I should also object to having Beethoven’s Choral Symphony blaring away while I tried to enjoy a quiet pint with friends. If you dislike what is being played, you use up energy and patience in the attempt to ignore it; if you like it, you will want to listen to it and not to talk or be talked to, not to do what you came to the pub largely to do.

Kingsley Amis, Everyday Drinking: The Distilled Kingsley Amis, 2008.

July 19, 2012

The messy internal state of North Korea

Filed under: Asia, China, Economics, Media — Tags: , , , , , , — Nicholas @ 09:49

Strategy Page on internal affairs of North Korea in the early stage of Kim Jong Un’s leadership:

China remains the foreign power with the most influence over North Korea, but that isn’t saying much. When given unwelcome advice from China, which represents nearly 80 percent of foreign trade and the only source of free food and fuel aid, North Korea still tends to adopt a suicidal attitude. For the northern leadership, it’s “death before dishonor” and that means Chinese demands, even backed by threats of aid cuts, are ignored. For this reason, China is believed involved in the current reorganization of the senior North Korean leadership. China has long developed friends and relationships among the North Korean elite. As corruption became more of a factor in the last decade, China knew how to cope. China is awash in corruption, and Chinese leaders have learned how to use it (even as they struggle to lose it). In effect, China’s decade-long effort to overwhelm the “old school” faction in North Korea appears to have succeeded. But the “old school” crowd are still numerous, scared and armed. This could get messy. This does not bother China, which has plenty of experience with messy.

In the last month or so North Korea’s new leader (Kim Jong Un) has removed hundreds of military and government officials and promptly installed younger replacements. Un has made it clear, in public announcements, that it’s time for a new generation. Many of the dismissed older officials were seemingly loyal to and supportive of Un, so this appears to be more a desire to shake up the leadership, than to purge opponents. Kim Jong Un isn’t doing this by himself, as he has a small group of advisors he relies on a lot. This includes his uncle, Jang Sung Taek, who is married to Kim Jong Ils sister. Jang has long been a powerful government official, and is believed to be quite wealthy. That’s because Jang has a lot to say about how North Korea earns (by legal, or illegal means) foreign currency. In a country so extremely poor, the man who controls the most money has a lot of power. Jang, for example earlier this year ordered house searches of families believed to be hoarding foreign currency (Chinese or American), rather than, as the law demands, putting it in the bank. People do not want to put their foreign currency in the bank because the government pays you less for it (in North Korean currency) than the black market money changers (who give fair market value). Jang understands how the North Korean economy really works, and is trying to increase government control over the “new economy.” Yang and his wife have a lot more knowledge of, and experience with, the North Korea government and economy than their nephew Kim Jong Un and, for the moment, they have his ear, and trust.

[. . .]

The food situation in the north is getting worse, with food prices (in the growing number of free markets) at record levels. Government distributions of food are declining. Worse, the government is printing more money, increasing inflation (because there’s now more money chasing the same amount of food.)

North Korean censors finally caught on to the fact that young North Koreans had been taking South Korean or Western popular songs, adding new lyrics that have a double (anti-government) meaning in the north, and spreading them widely. North Korea doesn’t have much Internet access, but there are memory sticks, CDs and floppy disks. Stuff gets around, and now the police have been ordered to crack down on a list of over 500 subversive songs. The cops love this sort of thing, as it creates plenty of new bribery opportunities. That’s because many of those involved in this music conspiracy are children of ruling families, and can afford a fine (rather than anger their parents by getting arrested.)

Update: In the Guardian, Paul Watson says we’re all sheep and ignoring the horrific crimes of South Korea and vilifying the peace-loving, friendly, warm-hearted North Koreans:

Reunification and conciliation are usually portrayed as South Korean concepts, while North Korea is seen as a closed state, hostile to such talk on “idealistic grounds” – a view perpetuated by media outlets’ lack of interest in all recent North Korean initiatives. In fact it is almost impossible to find any piece of positive European journalism relating to the Democratic People’s Republic of Korea (DPRK). The days of cold war pantomime journalism and great ideological battles might be over, but North Korea remains an area in which journalists have free licence for sensationalism and partiality.

The lack of western sources in North Korea has allowed the media to conjure up fantastic stories that enthrall readers but aren’t grounded in hard fact. No attempt is made to see both sides of the Korean conflict: it is much easier and more palatable to a western audience to pigeonhole the DPRK as a dangerous maverick state ruled by a capricious dictator and South Korea as its long-suffering, patient neighbour.

These roles are dusted off whenever there are flare-ups, such as the Yeonpyeong Island incident of 2010 when North Korea was condemned for firing shots at South Korean military and civilians in an “unprovoked attack”. It was not widely reported that South Korea had been test firing artillery in a patch of ocean that North Korea claims ownership of or that North Korea’s repeated demands for an explanation were ignored. While military intervention may not have been wise, it was far from the random act of hostility it was made out to be.

July 14, 2012

Discovering old favourites

Filed under: Cancon, Media — Tags: , — Nicholas @ 09:20

I was delighted to discover last night that my favourite Quebec folk group has finally appeared in digital form on iTunes. I first heard the music of Barde in about 1978 and was immediately captivated by it. It’s a blend of Celtic music with a Quebec twist. Here’s their entry in the Canadian Pop Encyclopedia:

Richard Chapman (vocals, mandolin, banjo, dulcimer, guitar)
Toby Cinnsealac (aka Kinsella) (tin flute, tin whistle, recorders, clarinet, tambourine)
Pierre Guerin (vocals, acoustic guitar, accordion, concertina, flute, recorder)
Chris (aka Crilly) MacRaghallaigh (vocals, violin, keyboards, bodhran, tambourine)
Elliot Selick (violin, tin flute, tin whistle, banjo)
Ed Moore (bodhran, tambourine, concertina, tin flute, tin whistle, glockenspiel)
Jacques Joubert (violin; 1983)
Richard Paquette (keyboards; 1983)
Jocelyn Therrien (bass; 1983)

This sextet from Montreal was formed in 1973 and found their brand of Acadian & Celtic reels and jigs popular around the Maritimes, Quebec and overseas in Europe. The group was known for its utilization of a twin Celtic fiddle sound courtesy of Crilly and Selick.

They signed to Polygram then to Direction Records, then to Flying Fish, and finally to Porte Parole. Their eponymous debut, Barde, was released in 1977. By their the second album, Images, in 1978 Chris Crilly had introduced keyboards in the form of synths and pianos. By 1983’s Voyage Selick had also left and the remaining members changed musical direction by incorporating keyboards bass and violin courtesy of studio musicians Jacques Joubert, Richard Paquette, and Jocelyn Therrien.

Pierre Guerin led a revamped Barde at the 10th Annual Winnipeg Folk Festival. The band finally disbanded for good shortly thereafter with Guerin marrying and settling in the St. Boniface region of Winnipeg. He became a disc jockey before becoming Artistic Director of The Winnipeg Folk Festival.

June 24, 2012

QotD: The kids really are alright

Filed under: Gaming, Humour, Liberty, Media, Quotations — Tags: , — Nicholas @ 09:36

The phrase I use all the time is, “the kids are alright,” from the Who. It’s amazing to me, you know, I’m 54 years old, and it’s amazing to me watching my peers turn into these cartoons. They say, s*** like, “well you know, when we were kids we weren’t this rude, and we wouldn’t say this stuff. I would have never done this.” And it’s absolute f***ing bulls***, and we certainly have records going back thousands of years that adults always hate the younger generation. Adults always find a reason to hate people that are 20-years-old, and I don’t know why it is. Clearly and provably every generation gets better. Every generation gets healthier, smarter, more sophisticated, and that’s always been true. Twenty-year-olds are just better than us. Old people just can’t seem to get it through their heads that things are getting better and that’s wonderful. Not only do young people not have polio, not only are young people less racist, less homophobic, and less violent – not only is all that true, but they also have some really really cool art, and some of that art we don’t understand. The problem is a question of time.

You know, when I was 15, 16, 17-years-old, I spent five hours a day juggling, and I probably spent six hours a day seriously listening to music. And if I were 16 now, I would put that time into playing video games. The thing that old people don’t understand is – you know if you’ve never heard Bob Dylan, and someone listened to him for 15 minutes, you’re not going to get it. You are just not going to understand. You have to put in hours and hours to start to understand the form, and the same thing is true for gaming. You’re not going to just look at a first-person shooter where you are killing zombies and understand the nuances. There is this tremendous amount of arrogance and hubris, where somebody can look at something for five minutes and dismiss it. Whether you talk about gaming or 20th century classical music, you can’t do it in five minutes. You can’t listen to The Rite of Spring once and understand what Stravinsky was all about. It seems like you should at least have the grace to say you don’t know, instead of saying that what other people are doing is wrong. The cliché of the nerdy kid who doesn’t go outside and just plays games is completely untrue. And it’s also true for the nerdy kid who studies comic books and turns into this genius, and it is also true for the nerdy kid who listens to every nerdy thing that Led Zeppelin put out. That kind of obsession in a 16-year-old is not ugly. It’s beautiful. That kind of obsession is going to lead to a sophisticated 30-year-old who has a background in that artform. It just seems so simple, and yet I’m constantly in these big arguments with people on the computer who are talking about, “I would never let my kid do this and this in a video game.” And these are adults who when they were children were dropping acid and going to see the Grateful Dead. I mean, the Grateful Dead is provably s***ty music. It’s impossible – it’s theoretically impossible to make a video game as bad as the Grateful Dead. I throw that out there as a challenge.

Penn Jillette, “Penn Jillette Is Tired Of The Video Game Bulls***”, Game Informer, 2009-11-20

June 2, 2012

The Eurovision Song Contest and the European Union

Filed under: Europe, History, Humour, Media — Tags: , , , , , — Nicholas @ 09:45

Mark Steyn on the similarities between the top TV event in Europe and the EU itself:

One recalls the 1990 Eurovision finals in Zagreb: “Yugoslavia is very much like an orchestra,” cooed the hostess, Helga Vlahović. “The string section and the wood section all sit together.” Shortly thereafter, the wood section began ethnically cleansing the dressing rooms, while the string section rampaged through the brass section pillaging their instruments and severing their genitals. Indeed, the charming Miss Vlahović herself was forced into a sudden career shift and spent the next few years as Croatian TV’s head of “war information” programming.

Fortunately, no one remembers Yugoslavia. So today Europe itself is very much like an orchestra. The Greek fiddlers and the Italian wind players all sit together, playing cards in the dressing room, waiting for the German guy to show up with their checks. Just before last week’s Eurovision finale in Azerbaijan, The Daily Mail in London reported that the Spanish entrant, Pastora Soler, had been told to throw the competition “because the cash-strapped country can’t afford to host the lavish event next year,” as the winning nation is obliged to do. In a land where the youth unemployment rate is over 50 percent, and two-thirds of the country’s airports are under threat of closure and whose neighbors (Britain) are drawing up plans for military intervention to evacuate their nationals in the event of total civic collapse, the pressing need to avoid winning the Eurovision Song Contest is still a poignant symbol of how total is Spain’s implosion. Ask not for whom “Ding-Ding-A-Dong” dings, it dings for thee.

May 8, 2012

Celebrating the birthday of F. A. Hayek

Filed under: Economics, History, Humour, Media — Tags: , , , , — Nicholas @ 08:16

And the sequel, which some think is even better than the original, Fight of the Century:

April 20, 2012

Reason.tv: Too Much Copyright

Filed under: Law, Liberty, Media — Tags: , , , , , , , — Nicholas @ 07:45

“This disconnect between the public’s view of copyright and fair use and what should and should not be prosecuted, versus the ‘copyright maximist’ view of the law, is our generation’s Prohibition,” says Ben Huh, CEO and founder of Cheezburger and a loud voice in the recent backlash to SOPA and PIPA, two congressional bills aimed at curbing internet piracy.

Copyright exists to “promote the useful arts” according to the Constitution. But is it still doing that? And should the government protect so-called “intellectual property” in the same way it protects other forms of property? Reason.tv posed these questions to Ben Huh, as well as a professor and a movie studio representative.

Tom Bell, a law professor specializing in property law, has serious reservations about attempts by groups like the Motion Picture Association of America (MPAA) to equate property and copyright through ad campaigns admonishing viewers with messages like, “You wouldn’t steal a car. Downloading pirated movies is stealing.”

“As soon as we start using [the word] ‘copyright’ for ‘property,’ we start taking less seriously our property rights for things like cars and houses,” says Bell. “When you steal a candy bar or a car, you’ve left somebody without something to eat or something to drive.”

April 14, 2012

Colombia tries to butter up Obama with “quickie” SOPA rules

Colombia buckles under intense US lobbying to introduce SOPA-like copyright rules in time for President Obama’s visit:

President Obama is heading to Colombia this weekend for a summit, and we’d been hearing stories that US officials had been putting tremendous pressure on Colombian officials to pass new, ridiculously draconian copyright laws ahead of that visit. So that’s exactly what the Colombian government did — using an “emergency procedure” to rush through a bad bill that is quite extreme.

Earlier this year, Colombia tried to pass basically the same bill, which was called LesLleras, after Interior Minister German Vargas Lleras (who proposed it). That bill was so extreme that it resulted in SOPA-like protests, following significant concerns raised by the public as well as copyright and free speech experts. So, this time around, the government just claimed it was an emergency and rushed the bill through, despite all of its problems. They seemed to think that the public wouldn’t notice — but they’re wrong.

As is typical of idiotic trade agreements pushed via the USTR — who only seems to listen to Hollywood on these issues — the copyright bill includes all sorts of draconian enforcement techniques and expansions of existing copyright law, and removal of free speech rights. But what it does not include are any exceptions to copyright law — the very important tools that even the US Supreme Court admits are the “safety valves” that stop copyright law from being abusive, oppressive and contrary to freedom of speech

April 3, 2012

Creativity as mainly hard work, plus a bit of talent and inspiration

Filed under: Media, Science — Tags: , , , — Nicholas @ 09:51

As I’ve said before, I’m not at all a creative person but I’ve always admired those people who are creative. However, Jonah Lehrer suggests that perhaps I’m just lazy:

“Creativity shouldn’t be seen as something otherworldly. It shouldn’t be thought of as a process reserved for artists and inventors and other ‘creative types.’ The human mind, after all, has the creative impulse built into its operating system, hard-wired into its most essential programming code,” writes Jonah Lehrer in his new book Imagine.

In his book, Lehrer examines the inner workings of what we call imagination. He looks at the neuroscience behind sudden insights, how the brain solves different kinds of problems and which personal traits help foster creativity. He also shares how external forces factor into the creative process, how to design a workspace to enhance your chances of having an epiphany, why creativity tends to bubble up in certain places and how we can encourage our collective imaginations.

Above all, though, the message of Lehrer’s book is that creativity is not a super power. Anyone can be creative — it just takes hard work. “We should aspire to excessive genius,” says Lehrer, who took some time from his book tour to sit down with Mashable and answer a few questions about the mysteries of how we imagine.

[. . .]

Yo-Yo Ma says his ideal state of creativity is “controlled craziness.” How can we learn to harness that?

What Yo-Yo Ma is referring to is the kind of creativity that occurs when we let ourselves go, allowing the mind to invent without worrying about what it’s inventing. Such creative freedom has inspired some of the most famous works of modern culture, from John Coltrane’s saxophone solos to Jackson Pollock’s drip paintings. It’s Miles Davis playing his trumpet in Kind of Blue — most of the album was recorded on the very first take — and Lenny Bruce inventing jokes at Carnegie Hall. It’s also the kind of creativity that little kids constantly rely on, largely because they have no choice. Because parts of the brain associated with impulse control remain underdeveloped, they are unable to censor their imagination, to hold back their expression. This helps explain the truth in that great Picasso quote: “Every child is an artist. The problem is how to remain an artist once we grow up.”

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